Search:2 am

Factory Benelux presents a limited crystal clear vinyl edition of Dark Light, the eighth studio album from post-punk trailblazers Section 25, originally released in 2013.
Recorded in 2012, Dark Light would be the band’s first collection of new material since the tragic loss of founder Larry Cassidy in 2010, and marked a return to the smooth electro and synth-pop textures first explored on their seminal 1984 album From the Hip. These echoes are amplified by the presence of co-vocalists Beth and Jo Cassidy, as well as a sublime cover image by iconic artist/designer Peter Saville.
Much of Dark Light was produced in collaboration with remixer Derek Miller (aka Outernationale), and includes new versions of single tracks Colour Movement Sex & Violence and Inner Drive. Other stand-out cuts include future pop classic My Outrage, also released as a single on Record Store Day.
“A revelation. The group were once doomy post-punks whose 1984 electronic album From the Hip anticipated house music and thrilled New York clubland. Now the deaths of singers Larry and Jenny Cassidy have inspired their daughter Bethany to carry on the family business and give the band a makeover. The collision of the original members’ brittle rhythms and the angelic voices of Bethany and similarly fresh-faced co-singer Jo takes recent material into shimmering club-pop heaven” (The Guardian, 2014)
Now released on vinyl for the very first time, FBN 145 is limited to just 500 copies pressed on crystal clear vinyl. The digital copy contains several bonus tracks.

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

CLEAR VINYL. LIMITED TO 300 COPIES!


Suzanne Ciani’s Improvisation On Four Sequences somehow represents the complete histo- ry of electronic music, as the enthusiastic audience at Week-End Fest 2021 were lucky enough to experience. From the awakening of American avant-garde music at the end of the 1960s, right through to the development of the electronic sound of the club scene in L.A. and New York. But above all it is the dialogue between artist and machine, which simply ends when the concert is over, that comes across. Laconicism, precision, sound sensitivity and the weight of a tradition that Ciani was instrumental in founding all come together. It is spectacular precisely because it is so unexciting.

The Strangers brings together Hervé Salters AKA General Elektriks and two exceptional rappers: Frenchman Leeroy (ex-Saïan Supa Crew) and American Lateef The Truthspeaker (Blackalicious) in a new project. Evolving in the year 2222, "The Strangers" is a testament from the future in the form of hip hop with a strong funk undertone, a timeless and playful sound where the languages of Shakespeare and Molière combine and clash to describe a world of tomorrow in 2023 that no one has yet heard of: requiring the earthlings of the future to travel from an early age, society abolishes the fear of the unknown. Lateef, Leeroy and General Elektriks have therefore chosen to set their narrative in the future to better speak of today"s world. The environment, individual freedom, police violence and communitarianism are all subjects that permeate the record. But the 3 Strangers inject a healthy dose of humour and energy into their music. This album is a sonic road movie of anticipation, zig-zagging between athletic and poetic flows soulful choruses, and darker downtempos. The sound developed is fluorescent and infectious, speaking to the hips as much as the head.

Big Daddy Mugglestone is back, with his first full-length solo release in over 2 decades! Rumi Sounds is proud to present this collection of songs about Life, Love, and God that really embody the idea of Americana Gothic.

The songs are dark but not bleak, giving a glimpse of forgiveness...even the 12-minute long murder ballad for which the album is named is still a love song.


With a mixed band of Denver and Berlin-based friends, Mugglestone steps out of the shadowy depths to create a record you and yr auntie could listen to while doing the dishes or lounging on the sofa on a rainy day.

The psyche-melodic guitar swirls of Oska Wald and the alluring back-up vocals of MTN GRL elevate his wry croon, not quite country but not quite contrary. Something like if Lee Hazlewood and John Prine both wanted to buy the same vintage lamp...

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

European funk fusion of the highest order, Michel Gonet's Phasing News Volume 1 is the essential companion piece to the venerated Volume 2. It's truly a library treasure that every home must own. As Tele Music themselves said, it contains "tense and mysterious underscores in a range of styles"; whilst we don't disagree, we'd add swaggering, orchestral drama-funk-jazz-breaks. Vital.

Opener "Moon To Light (Number II) - A" is a total wonder. It's incredible, and what a way to begin a record. The percussion is electrifying, complimenting the dark, heavy piano, eerie organ work, electric guitar soling and rhythm section brilliance. Part B is virtually identical but without the electric guitar. The slow "Soul Cathedral (Number II) - A" is an ambient spacey synth gem which is both beatless and drenched in phased organ. Pretty captivating. Part B plays it rather straighter, a church organ continuing the same melody and tempo but with less of the swirling synthy effects.

"Light In The Rains (Number II) - A" sounds like something Diamond D would've sampled in the mid-to-late 90s, conjuring as it does that peculiar, creeping Axelrod-funk, all eerie electric guitar and organ, bass and spacey effects. Part B loses the electric guitar and adds brass.

The swirling, dramatic "Mondial Scoop (Number II)" has that urgent News At Ten feel with its prominent timpani drums whilst "Mecanic Bird Song" is a frenetic, abstract track with disorientating keyboard interplay.

*Total highlight* "Mephisto Jet (Number II) - A" rides a slick, proto-hip-hop beat with melodic, warm Rhodes yet, thrillingly, casually ups the drama with strings and timpanis. It then returns to its more mellow state. Ace. Part B adds acidy, phased percussion to create a more hypnotic, tripped out feel to proceedings. Part C is half as long but, pared back to just drums and Rhodes, it's arguably twice-as-nice.

To close, the shuffling, bell-laced urgent jazz of "Phasing News - A" is another highlight, riding a great bassline and augmented by ace drums, organ and electric guitar. Part B is also great, removing the guitar and doubling down on the head-nod funk.

The audio for Phasing News Volume 1 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Das neue Album von BRUJERIA "Esto Es Brujeria" erscheint als limitierte, orangene Doppel-LP mit rot/schwarzem Splatter im Gatefold.

"Esto Es Brujeria" ist die fünfte Full-Length-Veröffentlichung der narco satanicos des Death Metal; BRUJERIA. Mit sechzehn Tracks schließt sich der Kreis zur Post-Pandemie-Ära, in der die tiefe Polarisierung, die zivilen Unruhen, die anhaltende Brutalität und die sozialen Umwälzungen der Zeit reif für die berüchtigten Kritiken der Band sind. Die berüchtigtsten Antihelden des extremen Metals, die von einem dichten Mythos umwoben sind, können jederzeit und überall auftauchen, um ihre Geschichten von anarchischem Chaos und gesetzloser Wut zu erzählen. Sie sind die ewigen Banditen, bereit zum Feiern.

Der aus Seattle stammende Produzent Jeff McIlwain, alias Lusine, kehrt mit seinem 9. Album Long Light zurück und feiert damit sein zwanzigjähriges Bestehen bei Ghostly International. Lusine, der als Einfluss für unzählige elektronische Künstler wie die Londoner Loraine James und andere gilt, ist bekannt für viszerale, kinetisch neugierige Musik, die Techno, Pop und experimentelle Kompositionen miteinander verbindet. In den letzten Jahren hat McIlwain sein Handwerk mit mehr kollaborativer, songorientierter Arbeit in die Höhe getrieben. Long Light" zeigt die durchgehende Linie; seine charakteristischen Looping-Muster und Texturen sind dynamisch und dennoch minimalistisch wie immer. Strukturell geradlinig, straff und hell, strahlt das Material als das direkteste in seinem Katalog, mit Gesangsbeiträgen von Asy Saavedra, Sarah Jaffe und den Sensorimotor-Kollegen Vilja Larjosto und Benoît Pioulard. Lusine hat seinen Sound schon früh gefunden, aber er hat nie aufgehört, an seinem Potenzial zu feilen, geduldig die Ablenkungen zu dekonstruieren und die Rätsel zu lösen. Mit Long Light erreicht ein prozessgeleiteter Künstler ein außergewöhnlich erfreuliches Niveau an Klarheit und Unmittelbarkeit. McIlwain sieht den Titel, der der lyrischen Phrase "long light signaling the fall again" entnommen ist, die Benoît Pioulard für das spätere Titelstück geschrieben hat, als einen Leitfaden, der mehrere Bedeutungen widerspiegelt. "Es gibt diese Art von Paranoia, bei der man nicht weiß, was real ist, es ist ein Zeitalter der großen Angst und es gibt all diese Ablenkungen", erklärt McIlwain. "Es ist wie ein Spiegelkabinett." Dem langen Licht zu folgen ist der einzig wahre Weg, und diese Metapher wendet er auf die Aufnahmen des Albums an, die ebenfalls einen zyklischen Charakter haben, ähnlich wie die Jahreszeiten. Wie der Beginn des Herbstes schließt das Album eine Periode der Kultivierung ab; "Musikmachen ist ein Kampf und man muss eine Menge Geduld haben." Long Light ist der Beweis dafür, dass das, was jenseits des Lärms, am Ende des figurativen Tunnels liegt, all die Arbeit wert ist, die man auf dem Weg dorthin geleistet hat. In der gesamten Sammlung identifiziert McIlwain das zentrale Klangelement, einen Gesangsausschnitt oder eine einfache Beatsequenz, auf dem alles andere aufbaut. Auf dem Opener Come And Go" vervielfältigt er eine Gesangseinlage seiner langjährigen Mitarbeiterin Vilja Larjosto zu einem himmlischen Chor, der an den Sensorimotor-Hit Just A Cloud" erinnert. Es ist die Bass-Hook auf der Single "Zero to Sixty", die sich um die Stimme von Sarah Jaffe windet, deren geschmeidiger Tonumfang und coole Darbietung die Quelle für Lusines unverwechselbares Mapping ist.

Der aus Seattle stammende Produzent Jeff McIlwain, alias Lusine, kehrt mit seinem 9. Album Long Light zurück und feiert damit sein zwanzigjähriges Bestehen bei Ghostly International. Lusine, der als Einfluss für unzählige elektronische Künstler wie die Londoner Loraine James und andere gilt, ist bekannt für viszerale, kinetisch neugierige Musik, die Techno, Pop und experimentelle Kompositionen miteinander verbindet. In den letzten Jahren hat McIlwain sein Handwerk mit mehr kollaborativer, songorientierter Arbeit in die Höhe getrieben. Long Light" zeigt die durchgehende Linie; seine charakteristischen Looping-Muster und Texturen sind dynamisch und dennoch minimalistisch wie immer. Strukturell geradlinig, straff und hell, strahlt das Material als das direkteste in seinem Katalog, mit Gesangsbeiträgen von Asy Saavedra, Sarah Jaffe und den Sensorimotor-Kollegen Vilja Larjosto und Benoît Pioulard. Lusine hat seinen Sound schon früh gefunden, aber er hat nie aufgehört, an seinem Potenzial zu feilen, geduldig die Ablenkungen zu dekonstruieren und die Rätsel zu lösen. Mit Long Light erreicht ein prozessgeleiteter Künstler ein außergewöhnlich erfreuliches Niveau an Klarheit und Unmittelbarkeit. McIlwain sieht den Titel, der der lyrischen Phrase "long light signaling the fall again" entnommen ist, die Benoît Pioulard für das spätere Titelstück geschrieben hat, als einen Leitfaden, der mehrere Bedeutungen widerspiegelt. "Es gibt diese Art von Paranoia, bei der man nicht weiß, was real ist, es ist ein Zeitalter der großen Angst und es gibt all diese Ablenkungen", erklärt McIlwain. "Es ist wie ein Spiegelkabinett." Dem langen Licht zu folgen ist der einzig wahre Weg, und diese Metapher wendet er auf die Aufnahmen des Albums an, die ebenfalls einen zyklischen Charakter haben, ähnlich wie die Jahreszeiten. Wie der Beginn des Herbstes schließt das Album eine Periode der Kultivierung ab; "Musikmachen ist ein Kampf und man muss eine Menge Geduld haben." Long Light ist der Beweis dafür, dass das, was jenseits des Lärms, am Ende des figurativen Tunnels liegt, all die Arbeit wert ist, die man auf dem Weg dorthin geleistet hat. In der gesamten Sammlung identifiziert McIlwain das zentrale Klangelement, einen Gesangsausschnitt oder eine einfache Beatsequenz, auf dem alles andere aufbaut. Auf dem Opener Come And Go" vervielfältigt er eine Gesangseinlage seiner langjährigen Mitarbeiterin Vilja Larjosto zu einem himmlischen Chor, der an den Sensorimotor-Hit Just A Cloud" erinnert. Es ist die Bass-Hook auf der Single "Zero to Sixty", die sich um die Stimme von Sarah Jaffe windet, deren geschmeidiger Tonumfang und coole Darbietung die Quelle für Lusines unverwechselbares Mapping ist.

Explosions In The Sky haben ihr erstes Album seit sieben Jahren angekündigt! “End” erscheint am 15. September über Bella Union. Die erfreuliche Meldung erfolgt zeitgleich mit der Veröffentlichung des Eröffnungsstücks “Ten Billion People” und der Ankündigung einer ausgedehnten Tour, die die Band auch im November nach Deutschland bringt.

The album features 15 tracks, showcasing Bastien’s truly cinematic sound while exploring new sonic territories. The album touches on the melancholic funk drifting between voiceovers of longing and hurt, through surreal, hallucinogenic folk ballads. It’s the juxtaposition of these genres sewn together with ambient synth skits that really makes the album a musical journey. Playful and serious, as the album title suggests, Bastien manages to induce a rye smile with a tear in the eye.


In Seb’s words, “The album tells the story of a failed relationship, as the man narrators missing his other. Whilst he imagines her comforting him, before accepting the end of the relationship, and feeling that the love he feels, she never did.”

Sharing common ground with luminaries such as David Axlerod, Kate Bush, Roy Orbison, Madlib and The Delfonics; Keb plays guitar, trumpet, bass, drums, piano, flute and more Keb’s writing and recording approach is slightly unique. He explains a little about how his records sound the way they do...

“I have a lo-fi approach to recording, for me it’s about the moment, all my records are time capsules of a certain time in my life, so the sound of the recording is secondary. It’s all about heart, that’s all I’m interested in. If I get a melody I have to record it asap, if the mic isn’t plugged in I use the macbook mic, if I’m not by the computer I’ll record into my phone.

For me personally using/sampling other peoples music isn’t making your own music, using your own soul, showing your own heart, it's just my personal opinion. It’s not right for me. No slur on those that do. If there are any samples on my records, it’s me sampling me. For me, this means the music is mine. It’s ‘of me’. That’s really important for me, because I feel that’s where the honesty is. If my music sounds ‘dusty’, that’s why”.

This approach provides us with a wonderfully inclusive record. The album feels almost ‘performed’ to us, live, on each listen. Coupled with Bastien’s capacity to write music which is almost visual, the album is quite enveloping.

Bastien returns to Def Pressé with this new album after the brilliant, Holy Mountain. Released under the name Grandamme, with friend and collaborator Claudia Kane.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Le Magnifique is a cult film. Many a viewer has memorized the lines of this character, whose role was tailor-made for Jean-Paul Belmondo. In the year of our Lord 1973, Belmondo reunited with director Philippe de Broca, a pair who, decades before the Jean Dujardin version of OSS 117, were unknowingly making meta cinema. The film's soundtrack, by Claude Bolling, successfully navigates between the first and second degree, without ever sinking into the clumsiness of "fantasy music". For the record, Claude Bolling is none other than the chief composer of the all-female group Les Parisiennes and of some 100 film scores, including Borsalino, which is certainly the best-known. Above all, he is a genius of French jazz, whose talent makes his music sound relaxed and familiar, even when you're listening to it for the first Tme. From the very first track on the album, "TaQana", postcard images of Mexico spring to mind. Claude Bolling plays with the codes of film music without ever losing a certain communicaTve jubilaTon. With the soundtrack to Le Magnifique, Claude Bolling equals the Anglo-Saxon masters of the easy-jazz pop genre, such as Henri Mancini. Fans of jerks to dance to at the ambassador's parTes will be delighted by the composiTon "Pop Mod". Even today, those who invented the term "lounge core" would go out of their way to own an original Claude Bolling vinyl. Thanks to Claude Bolling and his original French Touch, before thedays of Dimitri From Paris and Bob Sinclar who, if they hadn't been able to take advantage of this musical and cinema to graphic heritage, wouldn't have had anything to sample.

Welcoming a vibrant selection of artists to the label, Oblivium records presents OBL 002V Various Artist. This 4 tracks is an ambition project that unites 4 great artist with diverse approsches to music production, 4 different minds and vision, 4 declination of the same mood. We like to experiment and try to pusch our boundaries over. Tommy Vicari jnr, Flaze, Carlo di Roma, Jay Tripwire & Jehr

Up next on TRIP is berlin-based, but boston native, soren jahan.

for his debut on the label, nina signed 16 tracks that were conceived in 2016 following a simple concept: no samples. all rhythms and sounds are synthesized and controlled with lfo modulations as well as step sequencers. the result is a minimal masterpiece straddling the line between danceable music and ambient.

Soren got his start in boston in 2011 with the label supply records that he founded with john barera. since coming to berlin in 2013, he has released a string of ep's on his own labels supply, blank slate, ygrok / ssto as well as projects for the double r amongst others. these days he's also active as an analog photographer and printmaker in berlin's underground fetish scene.

The 12" features special locked groove edits of all 16 tracks.

ORKA is a duo comprising Francine Perry from London and Jens L. Thomsen from the Faroe Islands. They crossed paths in the vibrant club scene of London, an immersive world that had a profound impact on their creative journey. ORKA's music draws inspiration from the Hardcore Continuum and UK sound system culture, blending it with elements of minimal techno, progressive electro, and ambient music, resulting in a diverse range of stylistic influences. Now ORKA emerges with their long-awaited new album. Once again, they greet us with their distinct blend of earthy tones and a bold, adventurous spirit, taking us to a realm bursting with neon-lit hues, pulsating club beats, and an abundance of sensory stimulation. Aptly named "All At Once," the album title provides a clue to the auditory and sensory experience that awaits the listener in this immersive record. ORKA has continuously evolved as a project over many years and iterations, embracing fluidity and a relentless quest for fresh sonic amalgamations. Their journey has been marked by a gradual refinement, stripping away layers to reach the core essentials. This transformative process has unfolded over the years, reaching from their site-specific, cowshed sampling and band-based expedition in "Livandi oyða" (2007) to the bold, innovative exploration of minimalist techno in "Vað" (2016). However, their latest release, "All At Once," signifies yet another remarkable leap forward in their artistic evolution. The seeds of this artistic progression were already planted in previous releases like the <13 EP (2017) and the hard-hitting techno single "Juno" (2018). However, it is with the arrival of the album "All At Once" that ORKA's vision fully blossoms, unveiling a vivid and expansive sonic landscape. This latest offering presents a glorious and vibrant tapestry, showcasing a maximalist approach to techno that pulsates with energy coupled with their signature meticulous attention to sound design, reflecting a deep awareness and intentionality in their creative process. If this album was to be thought of as a place, it would be a shimmering, futuristic, buzzing kind of city with vibrating night-time drizzle from above and endless glowing lights in the distance. Several of the tracks are built around cut-up vocal samples that are divided from their semiotic meanings and reconfigured as loops, and thus mined for their timbral and percussive qualities. Recurring collaborators South London duo LV (Hyperdub, Keysound, Brownswood) are featured on a handful of these tracks, mixing in their complex cocktail of grime and bliss. The result is a sort of queer erotic dance-floor mysticism, and the closest to a full-blown dance record that ORKA have ever made. There must be a club in that shimmering futurist city of the night.. and it is a collective, inclusive and alluring place. There is no need to fear any dancefloor exhaustion by listening to this album though, as there are also moments of floating cyber beauty and pure enveloping warmth to be found among its tracks. As always, following the artistic journey of ORKA is a joyous experience, filled with unexpected twists and turns that keep us captivated.

Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco.

The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today

Das Imperium kehrt zurück.

Sechs Jahre nach der Veröffentlichung ihrer von der Kritik gefeierten Ode an den Hass, Poetry Of The Ill-Minded, legen die finnischen Symphonic-Black-Metal-Ikonen Shade Empire ihr neuestes anthologisches Meisterwerk in Form von 'Sunholy' vor. 'Sunholy' ist ein Wortspiel aus den beiden Begriffen 'Sonne' und 'unheilig' und macht von Anfang an deutlich, dass Shade Empire die Dualität von Licht und Dunkelheit, Gut und Böse, Heiligem und Ketzerischem aufschlüsseln wollen.

- Ltd. Col. LP: (White With Black Marble Vinyl)

Rina Sawayama commemorates the one year anniversary of her critically acclaimed album 'Hold The Girl' with a physical repressing of the album featuring new artwork.

'Hold The Girl' sees Rina juxtapose intimate storytelling with arena-sized songs for an ambitious and original album that successfully excited fans and critics alike. Reflecting on all that the year has brought her, the physical re-issue and her redesigned tour for Hold The Girl: Reloaded demonstrates Rina's intent to provide a more intimate understanding of her creative process and unique point of view during the creation of the album.

Das war längst überfällig: The Headlines "In the end" erscheint zum ersten Mal endlich auf Vinyl. 2017 markierte das Album für die skandinavischen Punk Rocker The Headlines einen Wendepunkt, denn fortan übernahm die fantastische Sängerin Kerry Bomb das Mikro, während Mastermind Jake Lundtofte als Songwriter und Lead-Gitarrist den Sound weiter perfektioniert und prägte. "In the end" ist dabei nicht nur vom Titel auch 5 Jahre nach Erstveröffentlichung aktueller denn je: Kerry im Interview mit dem Pressure Magazine dazu: "Der Titel "In The End" ist unsere Antwort darauf, wo die Menschheit derzeit steht. Mit unserer Energie geht es dem Ende zu und der Planet zerstört sich mehr und mehr von Tag zu Tag selbst.

Auf intellektueller Ebene, sind wir irgendwie am Ende angelangt." Das Ergebnis ist schlichtweg ein Punkrock-Meilenstein voller Energie und Leidenschaft, der einen sofort in seinen Bann zieht...straight forward, rotzig-frech und doch ausgeklügelt und extrem abwechslungsreich. Kurz gesagt die Scheibe rockt vom ersten bis zum letzten Ton.

"If you can imagine a love child between MAC DEMARCO and SPAR-KLEHORSE, then this would be what you're left with." - SO YOUNG MAGA-ZINE
Raised in North Queensland, Australia, Jarrod Mahon is not one to shy away from bold new endeavors. Once parting ways with his previous record label in 2019, Mahon chose to go fully independent, relocating to Berlin in 2019 (where he still resides), despite having no contacts at all in the country. What’s more, having recorded/performed under the pseudonym Emerson Snowe for over a decade - during which time he home-recorded five albums and 13 EP’s, toured with the likes of King Krule or Ariel Pink, played showcases SXSW and the Great Escape, the works - Mahon took that brave, most uncommercial decision to release under his own name and start almost totally anew.
“There was never really a concept to that name Emerson Snowe other than having some kind of separation from who I was as a person,” Mahon explains, “using a moniker gave me that confidence to push myself further mentally and to give myself some kind of a freedom”. And through the process of creating what would become his debut album, Mahon saw that he had outgrown the need for this protective persona. ‘Everything Has A Life’ was meant to be the debut Snowe album”, he admits, “but after I finished mixing it with Syd Kemp, co-producer I realized that I had actually grown a lot and was much more comfort-able with who I am and what my personal beliefs are.”
The choice of ‘Everything Has A Life’ as the album title, pulled from beauteous opening track ‘All I Know’, neatly summarizes this new outlook: moving on from ‘self-pity’ of the past-self by becoming present for the loved ones around you, improving understanding of one’s own self, via the wider world at large.
That track marks the first written during a lockdown stint in LA where Mahon wrote and recorded every day for 2 months, produced nigh on 250 demos and birthed the bulk of the record. It also brought Mahon back to his all-time favorite, Sufjan Stevens’ Ilinois and its blend of widescreen orchestral landscapes and more candid, naked acoustic-leaning variations - an important influence for the album's stylistic contrasts. Another key inspiration for the record too brought Mahon back to his roots - those full-bloom strains of his Mum’s Beloved Neil Diamond, an annual Christmas irritant to Mahon as a child, yet an artist he’s come to respect in adulthood. “Whatever the reason, with age I came to love the big show band sounds,” he says, “the idea of a performer on stage with a mas-sive orchestra with strings was amazing to me.”
With the help of producer Syd Kemp (Ulrika Spacek, Vanishing Twin), such grand designs could be met. - “When we first met, he asked me if I would like real strings on it. I said of course.” Enter Magda Mclean on violin (Caroline/the Umlauts), and Gamaliel Rendle Traynor on Cello (Sweat, Fat White Family), whose strings helped lift the record to romantic new heights.
He continues: “I said to Syd that the only thing I wanted to achieve with this rec-ord was that I wanted it to make me cry at one point. And we got there eventual-ly.” The final culmination of all these strands, ’Everything Has A Life’ is indeed a treasure trove of emotive riches. Locking into that bittersweet, quintessentially ‘pop’ combination of triumphant rhythms and confessional, stream-of-consciousness lyrics plucked straight from the heart, Mahon faces up to years of substance abuse with a series of gorgeous, blushing melodies: “I was using, I was drinking, I was lying to my friends, I was messing up again, I was hiding from myself”, he joyously chants on ‘The Growing’.
A banquet fit for an indie king, Everything Has A Life is loaded with psych-pop lusciousness (‘All I Know’) and anthemic glam fuzz (‘Death Of The Ladies Man’, ‘Deadstar’, or ‘Sonny is my Best Friend’); recalling that foundational Sufjan Ste-vens influence too with shambling flecks of country (‘Charly (Romantic Heart)’). There’s also those lo-fi crepitations of ‘My Man’ and ‘I can’t’ harking back home-recorded demos that lie at the core of Mahon’s creative process.

Born and raised in the deep outskirts of Mexico City, the Gama brothers are keeping alive the rich legacy of marimba music running through their family with their latest project, Son Rompe Pera. While firmly rooted in the tradition of this historic instrument, their fresh take on the folk icon challenges its limits as never before, moving it into the garage/punk world of urban misfits and firmly planting it in the 21st century.

Als Carly Simon bei Jac Holzmans Elektra Records unterschrieb, war dies der Beginn einer Beziehung, die auf Vertrauen und gegenseitiger Bewunderung beruhte.

Zur Feier ihrer Zusammenarbeit hat Jac eine Sammlung von Tracks aus Carlys ersten drei Elektra-Alben zusammengestellt, die seiner Meinung nach ihre Zusammenarbeit und den Bogen ihrer Partnerschaft am besten repräsentieren. Mit Erinnerungen von Jac und Carly, herausgegeben von Ted Olson, erforscht diese "Sammelalbum"-Sammlung die Art und Weise, wie ein junges Talent und ein erfolgreicher Labelboss zusammenwirkten, um einen Sound zu schaffen, der die Singer/Songwriter-Bewegung definierte, die mit dem Feminismus der frühen 1970er Jahre zusammenfiel.

Der mit einem GRAMMY Award und mehrfach mit Platin ausgezeichnete Singer-Songwriter, Schauspieler und New-York-Times-Bestsellerautor Corey Taylor (Slipknot, Stone Sour) verrät Details zu seinem neuen Solo-Studioalbum CMF2. CMF2 ist der Nachfolger von Taylors Solodebüt CMFT aus dem Jahr 2020, das die
Nummer-1-Billboard-Mainstream-Rocksingle "Black Eyes Blue" und die Streaming-Sensation "CMFT Must Be Stopped" (feat.Tech N9ne und Kid Bookie) enthielt.
Das Album erreichte Platz sechs der US-amerikanische Billboard Top Rock Album Charts und #9 der deutschen Albumcharts.

"Mein erstes Soloalbum spiegelte wider, wo ich herkam. Dieses Album zeigt eher, wo wir hinwollen", fügt Taylor hinzu.
CMF2 - auf dem Taylor singt und Lead- und Rhythmusgitarre, Klavier und Mandoline spielt - bündelt die Energie, Experimentierfreudigkeit und Direktheit, die eine Karriere ausmachen, in der Taylor mit seiner mit einem Grammy ausgezeichneten Band Slipknot mehr als zwölf Millionen Alben und mit den Chartstürmern Stone Sour weitere Millionen verkauft hat.

CMF2 ist Taylors erstes Album für BMG und das erste auf seinem eigenen Label, Decibel Cooper Recordings.

Jay Ruston (Anthrax, Steel Panther, Amon Amarth), der sowohl Stone Sours 2017er Album Hydrograd als auch CMFT produziert hat, kehrte für Taylors zweites Album zurück.

Dizzy Up the Girl ist das sechste Studioalbum der Goo Goo Dolls. Ursprünglich am 22. September 1998 veröffentlicht, feiert das Album nun sein 25-jähriges Jubiläum. Dizzy Up the Girl ist das meistverkaufte Album der Band mit über 5 Millionen Verkäufen in den USA und enthält fünf Hitsingles: "Iris", "Dizzy", "Slide", "Broadway",
und "Black Balloon". Die limitierte 25-Jahre-Jubiläumsausgabe ist auf silberfarbenem Metallic-Vinyl gepresst.

Pretenders haben die Veröffentlichung eines neuen Albums bekannt gegeben. "Relentless" heißt es und ist das insgesamt 14. der englisch-amerikanischen Rockband.

"Relentless" heißt auf Deutsch? ja, was eigentlich? Das Wort hat eine Reihe von Bedeutungen - "unbarmherzig" etwa, "unermüdlich" oder "unaufhaltsam". Auch Bandleaderin Chrissie Hynde mag diese Mehrdeutigkeit:
"Mir macht es Spaß, die verschiedenen Bedeutungen und Ursprünge eines Wortes zu betrachten. Und ich mochte die Definition: 'keine Anzeichen des Nachlassens von Intensität zeigen'. Das ist das Leben eines Künstlers.
Man zieht sich nie zurück. Man wird relentless."
Nach "Hate for Sale" (2020) ist es das zweite aufeinanderfolgende Album, das in Zusammenarbeit zwischen Chrissie Hynde und dem aktuellen Gitarrenhelden der Band, James Walbourne. Produziert
von David Wrench und aufgenommen in den Battery Studios im Westen Londons, stehen die 12 Tracks des Albums für das, was Chrissie als "The Pretenders Collective" bezeichnet.

Auf dem Album kommt es auch zu einer lang erhofften Zusammenarbeit mit Jonny Greenwood (Radiohead, The Smile), der die Streicherarrangements beisteuert und das 12-köpfige Ensemble für den wunderschönen Schlusssong "I Think About You Daily" dirigiert.

Diesen Sommer waren Pretenders zusammen mit Guns N' Roses im Londoner BST Hyde Park und bei großen Outdoor-Shows zu sehen. Im September werden sie beim Reeperbahn Festival auftreten und eine Show im Berliner Columbia Theater spielen!

Static Dress haben ihr Signing bei Roadrunner Records bekannt gegeben und Details zu einer Deluxe-Neuauflage ihres Debütalbums Rouge Carpet Disaster verraten.

Mit Rouge Carpet Disaster (Redux) erweitert die Band ihr gefeiertes Debütalbum um ein neues Artwork und vier neue Redux-Versionen der Singles, darunter: "Courtney, just relax" (ft. World Of Pleasure), "Attempt 8" (ft. Sophie Meiers), "Di-sinTer (Glitter Redux)," und "such.a.shame" (Smoking Lounge Redux) Albumcover / Tracklisting
unten. Rouge Carpet Disaster (Redux) wird in mehreren Vinyl-Varianten erhältlich sein, wobei jeder LP eine zusätzliche 7"-Vinyl mit den vier Redux-Tracks beiliegt.

Ursprünglich unabhängig veröffentlicht, erwies sich Rouge Carpet Disaster als ein Wendepunkt für Static Dress . Produziert von Erik Bickerstaffe von Loathe und geschrieben von Static Dress , zeigt das Album einen phantasievollen Sound, der Emo, Screamo, Metal, Pop,
Elektronik und vieles mehr umfasst und eines der ambitioniertesten Statements innerhalb des Rockformats seit Jahrzehnten darstellt.



























[m] 13. Courtney, just relax [ft. World Of Pleasure]
[n] 14. Attempt 8 [ft. Sophie Meiers]

'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.

Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.

Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.

Killah Priest’s Mystery Channel EP is his first release on 600 Block Records after his acclaimed features on Pugs Atomz’ Test Drive LP in 2022. The EP, coming on limited edition vinyl, features two original productions from Tusk57, an amazing Tall Black Guy Productions remix, and instrumentals of all three tracks. Tall Black Guy’s remix of Mystery Channel is a soulful jazzy take on the EP’s namesake, bringing his signature style to his first collaboration with 600 Block Records. From humble origins in Detroit, raised on a healthy diet of Motown, Jazz and early Hip Hop...Tall Black Guy has become a standard bearer for the current hip hop beats scene. Through a steady stream of productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Lefto, Jazzy Jeff, Questlove and countless others. Killah Priest made his first appearances on such Wu-Tang side and solo projects as Gravediggaz’ 6 Feet Deep, Ol’ Dirty Bastard’s Return to the 36 Chambers, and Genius/GZA’s seminal Liquid Swords. His contributions to those releases especially Liquid Swords’ “B.1.B.L.E. (Basic Instructions Before Leaving Earth),” essentially a Priest solo track paved the way for the release of the MC's acclaimed debut album, 1998's Heavy Mental, and a lengthy and respected career in the hip-hop underground. In addition to his prolific solo work, he was an integral member of the groups Sunz of Man, the HRSMEN (aka the Four Horsemen), and Black Market Militia. About Tuskb 7 - A musician turned producer, Tusk57 brings a live feel to recording sessions and is most at home leading a band in front of a live audience. He is a multi-instrumentalist songwriter who has released multiple records under many other stage names in various genres, garnering critical acclaim including a Billboard hit. He is how based in LA and is using this moniker to develop a signature textured sound for hip hop and soulful music.

From the intricate fictional details packed into the cover art (cocreated by Palomo and designer Robert Beatty), to the lyrical collage
of pop culture and political references, to the music’s early-digital
sheen, the album evokes the 80s golden age of rock stars like Bryan
Ferry and Sting leaving their own breakthrough projects to strike out
as jazzy solo musicians. It’s parody, sure - of rock star ego trips, the
mall-ification of America, and our own self-obsession, even on the
brink of apocalypse - but it’s also dead serious, the sound of history
repeating itself as the Doomsday Clock clicks past its Reagan-era
maximum and nuclear anxiety comes back into style along with digital
synthesizers and sax solos. The deeper it pulls you into its own
uncanny reality, the clearer it becomes how thin the borders are
between Alan Palomo’s ‘World of Hassle’ and our own.

he new record is Bombino’s first full album in over
five years, and follows 2018’s ‘Deran’, which garnered
praise like, “the Sultan of Shred” from The New York
Times, and “the World’s Best Guitarist” from Vice.

‘West of It All’, the debut album from Americana
folk-rock band Briscoe, is a coming-of-age
soundtrack set against the backdrop of the Texas
Hill Country.

Wewantsounds is delighted to announce the first international reissue of Ayako Shinozaki's hard to find LP "Music Now For Harp" released in 1974 by Nippon Columbia. The LP was released on the label's cult "Master Sonic" series and features Shinozaki's harp soundscape on works by renowned composer Toru Takemitsu and Katsuhiro Tsubono. The highlight of the album is the spaced-out, ethereal 25-min ambient epic 'Heterodyne' featuring cult musician Takehisa Kosugi (Taj Mahal Travellers, Group Ongaku) on electric violin and sound waves. The album has been newly remastered by Nippon Columbia and is reissued here with its original artwork designed by legendary Japanese graphic designer Kohei Sugiura. It includes a 2 page insert with new liner notes by Alan Cummings.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

Sophomore album from Delmer Darion featuring both the most accessible and ambitious music they’ve created yet. There are some compelling features from Kiran Leonard, Bingo Fury, Anna B Savage, Mabe Fratti and the second half of the album features spoken word from Morfydd Clark who was the lead actress in the new Lord of the Rings series on Amazon.

Dark Entries and Papi Juice Records team up for No Jack Swing, the solo electronic debut of multi-hype man Brontez Purnell. The Southern-raised, Oakland-based musician and writer has centered his queerness and Blackness in projects Gravy Train and Younger Lovers as well as in his award-winning books 100 Boyfriends and Since I Laid My Burden Down. On No Jack Swing, Purnell gives us a love letter to the most beloved (and secularized) of drum patterns - that is, the electronic 808 “Amen Break”. Beginning recording in 2020, Purnell conceived of No Jack Swing as an audio zine of found sound materials: chain letters of instrumentals recorded in bedrooms, poems from boys in France, found gospel tapes from his childhood family Baptist Choir, and the sound of records skipping on his bedroom turntable. No Jack Swing is as much a homage to No Wave and New Jack Swing as it is an answering to the gods of Indie, Electroclash, Disco, and Gospel. Amidst all this background noise, the unexpected occurs: all the niche pretensions collapse to a singularity - the sound of High Pop! No Jack Swing was produced by Nightfeelings. Each copy of includes a lyric sheet with a photo of Brontez.

Feiern Sie den 40. Jahrestag des dritten Albums von Huey Lewis & The News, ”Sports”. Ursprünglich am 15. September 1983 veröffentlicht, hatte das Album vier Top-10-Hits in den Billboard Hot 100 und war 1984 auf Platz 2 der Billboard-Jahrescharts. Es enthielt die Hits ”The Heart of Rock & Roll”, ”If This Is It”, ”Heart and Soul” und ”I Want a New Drug”.